Pieter Wispelwey. Bach Cello Suites. Channel Classics CD CCS10901/2 Released 1990.
Recorded at the Protestant Church Renswoude Feb 1989 & Aug 1990.
Cellos used: baroque-cello (Barak Normand 1710)
Violoncello piccolo (anon. 18th Century) sixth Suite.
Other information given in booklet regards recording and set up.
Introduction.
This is the first of three recordings to date by this Dutch virtuoso. Whilst best known for his baroque performances he is very much a cellist who covers the whole range of repertoire. It is interesting to reflect back to 1990 the year of release of this recording and realise that there had only been a handful of historically informed performance (HIP) recordings up to that time and in fact only 45 previous complete recordings of all styles since Pablo Casals kicked off the whole exciting journey.
Trailblazer.
With respect to Bylsma and Harnoncourt, I would suggest that this is the HIP recording that has led the way for dozens of others who choose to approach the Suites from this perspective. Specifically with the close microphone techniques and attention to detail of instrument and set up used. In fact I would suggest that a listener would be hard pressed to date this CD. The only thing that sets it apart from more recent recordings is that the cello seems to be placed more to the rear of the soundstage. That in fact is rather welcome as it does reduce the impact of extraneous noise and feels more natural.
General remarks.
The light airy touch of the strings, the brisk nimble well articulated bowing and the unforced lower registers, leave one in no doubt that this is a HIP. Many baroque performers tend to accentuate the lower notes especially when beginning or ending a phrase or playing chords. Wispelwey avoids this for the most part giving a very gentle feel to the proceedings. The strings are allowed to resonate freely with minimal vibrato allowing the polyphonic nature of the music to be fully appreciated.
Thoughts about tempo.
There is consistency of tempos across the Suites with brisk Courantes and Gigues. The dance movements are all very rhythmic even the Sarabandes have a regular sense of timing without losing the steady rise and fall of the music with each phrase. The first Prelude was interesting in that the first half was quite sedate and relaxing but after the midway pause Wispelwey speeds up quite dramatically as if suddenly realising he was late for a train! Unusual but not detracting.
Consistency.
I did make notes on specific features but they tended to all say the same! These performances are simply outstanding! Technically and artistically they are amongst the best I have heard. The raspiness of gut strings was moderated so one can appreciate the lovely open tone. The tuning was impeccable. I did think that there was a no doubt intended subtilty of landing on a note slightly flat then adjusting upwards. That might have been my ears playing tricks. Either way it produced a very satisfying touch to the music.
The best is saved for the last.
For the most part, I feel relaxed whilst listening to this recording and was beginning to think it just lacked a little excitement and edge. Then at the end came the fifth Suite which was played almost as if the volume had been turned up another notch. The Gavottes were performed in grand style which rather overshadowed the vey impressive Prelude! I suspect it was a good move to end the two CD recording on the fifth Suite as the sixth, played on the piccolo cello seemed to lack the body and power of the preceding Suite.
Conclusion.
In summary I would suggest this is one of the best recordings available. If you do not have a HIP in your collection this is one to go for. Technically I would suggest it is on a par with the mainstream recording by Truls Mork. Musically I felt more emotionally stirred by one or two other recordings such as Fujiwaras 1985 recording, Zuil Bailey or Winona Zelenka but that is a very difficult matter to compare objectively.
Brief comparison.
Wispelwey’s other two recordings were amongst the first that Mark and I reviewed. I revisited briefly the second recording from 1998. The sound is very similar but it is noticeable that the variations in timing are more marked than in the first recording and possibly verging on the idiosyncratic. My preference would be for this first recording.
Charles.